This invention relates generally to the field of communications and, more specifically, to a system for symbolizing data that is descriptive of composed music.
The following specification includes many terms that have specific meanings in the field of musical composition, as well as a few terms that have specific meanings for purposes of this invention. In order to prevent confusion as to the meaning of these terms, a glossary is included at the end of the specification, just prior to the claims.
A music composition comprises a body of organized tonalities. The particular tonalities of a composition and the sequence in which they occur reveal its xe2x80x9csubject matter.xe2x80x9d This subject matter may comprise one or more musical xe2x80x9csubjects,xe2x80x9d each subject formally referred to by the descriptor xe2x80x9ctheme.xe2x80x9d It is helpful to think of a theme as a single musical statement whose tonalities comprise one or more melodic increments. An example of a single melodyxe2x80x94and perhaps the one most commonly recognized throughout the United Statesxe2x80x94is embodied in the song xe2x80x9cHappy Birthday to You.xe2x80x9d The tonalities comprising the entirety of this musical composition express a single musical subject (or theme) within a single melodic increment.
The subject matter of most classical compositions, however, is expressive of a plurality of themes. But irrespective of the number of themes embodied in a musical composition, each melody whose tonalities relate to a given theme is referred to as a xe2x80x9cmelodic increment.xe2x80x9d
It is often desirable to identify individual melodic increments within a piece of music and to describe whether each increment is part of certain theme or a transition. This identification and description can be used in the study and enjoyment of music. A formal description of each melodic increment indicates whether the increment is a xe2x80x9cpartxe2x80x9d of a xe2x80x9cthemexe2x80x9d or a xe2x80x9ctransition.xe2x80x9d
In a formal description, a melodic increment whose sole purpose is intended by the composer to express melodic content related to a specific theme is referred to as a xe2x80x9cpartxe2x80x9d of a theme. Following the descriptor xe2x80x9cpartxe2x80x9d is a cardinal numeral, such as xe2x80x9conexe2x80x9d or xe2x80x9c1xe2x80x9d; xe2x80x9ctwoxe2x80x9d or xe2x80x9c2xe2x80x9d. It should be noted that the convention is that when the subject matter of a composition reveals only one theme, each melodic increment whose tonalities reveal or reiterate that theme in some variation is called xe2x80x9cpart onexe2x80x9d even though there is no other part. The same is true when a given theme of a plurality of themes presented in a composition comprises only a single melody.
A full formal description of a melodic increment whose sole purpose is to express or help to express a given theme is described by four descriptors. Using the formal description xe2x80x9ctheme one, part onexe2x80x9d as an example, the descriptors are as follows:
the first is xe2x80x9cthemexe2x80x9d;
the second is a cardinal numeral which is used to label the number of the theme, as in xe2x80x9conexe2x80x9d of xe2x80x9ctheme onexe2x80x9d;
the third is xe2x80x9cpartxe2x80x9d; and is used to designate subject matter pertaining to a particular melodic unit;
the fourth, like the second, is also a cardinal numeral; and is used to designate the number of the part, as in xe2x80x9conexe2x80x9d of xe2x80x9cpart one.xe2x80x9d
In addition to those melodic increments whose sole purpose is to express or help to express a given theme, a composition often has one or more melodic increments whose purpose is to link or bridge the subject matter of one melodic increment to another. Such an increment is referred to by the descriptor xe2x80x9ctransition.xe2x80x9d
Summarily, the tonal substance of a given melodic increment either:
helps to express the subject matter of a given theme; or
expresses the entire subject matter of a given theme; or
serves as a transition to link previously expressed subject matter to subject matter that is to follow.
As is true of every architectural achievement, music composition may be described according to its structural features. The organization of musical sound as composition is set forth in print in a work called a xe2x80x9cscore.xe2x80x9d A score includes both music notation as well as certain verbal indicators which relate to expression and style of performance. By analogy, a score is to music performance as a set of blueprints is to the erection of a building. From an architectural point of view:
the score of a classical composition indicates its structural and aesthetic components by the use of musical notation and verbal description;
music notation documents tonal pitch, the duration of individual tones, and how each tone is to be articulated;
the notes comprising the whole of a composition are organized into a plurality of musical notations called xe2x80x9cmeasuresxe2x80x9d;
a particular plurality of sequential measures comprises a fundamental musical unit referred to as a xe2x80x9cmelodic increment,xe2x80x9d and each melodic increment is considered to be a fundamental architectural component of the structure of a composition;
melodic increments of a composition form component architectonic units, each comprising one or more melodic increments;
one or more architectonic units form a major section of a composition;
the totality of the major sections in a given score represents the entirety of that musical composition.
The melody or plurality of melodies embodied in a given musical composition is generally referred to as its xe2x80x9csubject matter.xe2x80x9d The subject matter of a composition may comprise one or more subjects, each of which is referred to as a xe2x80x9ctheme.xe2x80x9d Regardless of the number of themes, this subject matter is generally presented, developed, and resolved within the broad architectural confines of one of the traditional musical xe2x80x9cforms.xe2x80x9d By analogy, a musical form is like a generic blueprint that indicates the general framework of a given style of home, such as a ranch, hacienda, or Tudor.
The melodic subject matter of a classical composition is presented in one or more major sections. Taken as a whole, classical compositions commonly have either one, two, or three major sections. For example, most first and fourth movements in symphonic music have three major sections. Because of the broad spectrum of architectural forms which composers of classical compositions have used, it is necessary to confine our remarks in this disclosure to one of the most important, as well as popular, forms, the xe2x80x9csonata allegro,xe2x80x9d which has three major sections: xe2x80x9cexposition,xe2x80x9d xe2x80x9cdevelopment,xe2x80x9d and xe2x80x9crecapitulation.xe2x80x9d
Each major section of the sonata allegro form comprises one or more architectonic units, each unit comprising one or more melodic increments. The totality of the music included in these increments constitutes the musical subject matter of the composition.
The subject matter of the first major section, the exposition, comprises one or more themes. An exposition also typically includes a special section called a xe2x80x9cclosing sectionxe2x80x9d whose purpose is to conclude or close the music contained in the exposition.
The second major section of the sonata allegro form is the development section. In this section the composer typically selects subject matter first introduced in the exposition and further develops that subject matter.
The third major section is the recapitulation section. This section includes certain material first presented in the exposition. The recapitulation also typically includes a closing section. Following this closing section is a section called the xe2x80x9ccoda,xe2x80x9d or xe2x80x9cfinale,xe2x80x9d which is also categorized as a special section. The music in the finale brings the musical composition to its conclusion.
Knowledge of music architecture and subject matter contributes significantly to increased appreciation of classical music. For hundreds of years instructors have attempted to explain to music enthusiasts the fundamental features of music subject matter and architecture. Because of the aural nature of music, modern instructors have regularly presented the information in two phases.
In phase one the instructor introduces and attempts to explain fundamental musical terms used for categorizing the formal musical components of a composition. In phase two the instructor attempts to help learners comprehend the meaning of these terms as they apply to actual music.
A typical approach instructors use for attaining this goal is to associate each term with an example or series of examples that illustrate its use. This approach comprises:
employing a recording of a xe2x80x9cmodelxe2x80x9d classical composition, such as a portion of Mozart""s well-known first movement of his fortieth symphony; and
in the midst of the play of that recording, visually and vocally identifying the verbal terms used to describe sequentially occurring melodic increments of the model composition.
Instructors differ in the manner in which they visually present the formal descriptions of melodic increments. Some instructors prepare and display these descriptions in advance of the play of the recording of the model composition; other instructors display in writing these formal descriptions during the play of the recording. In the latter instance, instructors begin writing each appropriate description at the moment each melodic increment of the performed composition is aurally perceived.
When using such a visual aide it is understood that a viewer knows the significance of the following abbreviations pertaining to the following musical terms:
C Coda
cl. s. closing section
p. part
th. theme
tr. transition.
These abbreviations can be used along with numerals and punctuation to provide formal descriptions. The following formats are examples describing Mozart""s Symphony No. 40, G minor, 1st Movement)
Format A:
Exposition (or xe2x80x9cExpo.xe2x80x9d)
th. 1, p. 1; th. 1, p. 1; th. 1, p. 2; tr.; th. 2, p. 1; th. 2, p. 1; tr. cl. s.: th. 1, p. 1; th. 1, p. 1; th. 3, p. 1; th. 3, p. 2.
Development (or xe2x80x9cDev.xe2x80x9d)
th. 1, p. 1; th. 1, p. 1; th. 1, p. 1; tr.
Recapitulation (or xe2x80x9cRecap.xe2x80x9d)
th, 1, p. 1; th. 1, p. 1; th. 1, p. 2; tr.; th. 2, p. 1; th. 2, p. 1; th. 2, p. 1; tr. cl. s.: th. 1, p. 1: th. 1, p. 1; th. 3, p. 1; C.: th. 1, p. 1.
Format B:
Exposition (or xe2x80x9cExpo.xe2x80x9d)
th 1 p 1; th 1 p 1; th 1 p 2; tr.: th 2 p 1; th 2 p 1; tr. cl s: th 1 p 1: th 1 p 1; th 3 p 1; th 3 p 2.
Development (or xe2x80x9cDev.xe2x80x9d)
th 1 p 1; th 1 p 1; th 1 p 1; tr.
Recapitulation (or xe2x80x9cRecap.xe2x80x9d)
th 1 p 1; th 1 p 1; th 1 p 2; tr; th 2p 1; th 2p 1; tr. cl s: th 1 p 1: th 1 p 1; th 3p 1; C: th 1 p 1.
Format C:
Exposition (or xe2x80x9cExpo.xe2x80x9d) th 1 p 1 th 1 p 1 th 1 p 2 tr th 2 p 1 th 2 p 1 tr cl s th 1 p 1 th 1 p 1 th 3 p 1 th 3 p 2.
Development (or xe2x80x9cDev.xe2x80x9d)
th 1 p 1 th 1 p 1 th 1 p 1 tr.
Recapitulation (or xe2x80x9cRecap.xe2x80x9d)
th 1 p 1 th 1 p 1 th 1 p 2 tr th 2 p 1 th 2 p 1 tr cl s th 1 p 1 th 1 p 1 th 3 p 1 C th 1 p 1.
In each of the formats above, xe2x80x9cA,xe2x80x9d xe2x80x9cB,xe2x80x9d and xe2x80x9cC,xe2x80x9d each abbreviation and each numeral serves as a visual indicator of a particular descriptor used for formally categorizing a given melodic increment of the model composition. The significant visual difference between and among these formats is the degree to which punctuation is used. Format A includes formal punctuation, Format B includes minimal punctuation, and Format C includes no punctuation.
As may be observed, regardless of the degree to which punctuation is used, each format contains a mass of abbreviations and numerals, the totality of which is used to visually portray each formal description pertinent to each melodic increment embodied in a composition. The purpose of these visual indicators is to identify the occurrence of and to describe each melodic increment within a composition. The following explains the use of descriptors and punctuation used for describing the first melodic increment in Format A.
The first increment descriptor in the composite description, line one, is xe2x80x9cth. 1, p. 1;xe2x80x9d. This description contains five visual indicators, each for identifying a discrete datum. The first visual indicator is the abbreviation xe2x80x9cth.xe2x80x9d The second is the numeral one (xe2x80x9c1xe2x80x9d), which is followed by a comma. This comma serves as a standard punctuation mark used to divide items in a series. The third visual indicator is the abbreviation xe2x80x9cp.xe2x80x9d The fourth is also a xe2x80x9c1xe2x80x9d. The fifth visual indicator comprising this descriptor is a dual-purpose semicolon xe2x80x9c;xe2x80x9d. First, it indicates the end of a subject matter description. And secondly, it denotes the end of a melodic increment. Together, then, these five visual indicators are needed to denote that the musical subject matter embodied in the first melodic increment of the composition described is xe2x80x9ctheme one, part one.xe2x80x9d
As may be seen in the example, the verbal descriptors used for identifying themes and special sections of a composition are presented sequentially. The descriptors are shown either in a single line, as shown in the example, or are arbitrarily divided without regard to the content represented in each line. As a result, the learner has difficulty organizing into groups the descriptors used for identifying each separate melodic increment and each special section.
The general format for instruction used in the present art for teaching select aspects of performed music comprises:
introducing select music descriptors as labels for select music data;
using these descriptors to illustrate the select data of a given composition; and
verbally coordinating the application of select data during performance of a given composition.
The process of verbally coordinating illustrations of select data during performances to help synchronize music and data meaningfully to listeners is a step in the right direction, though primitive.
Illustrated documentation of music descriptors used in the prior art is defective because of the confusion that results from the manner of its visual presentation in its attempt to:
depict the subject matter and architectural structure of classical music;
identify melodic increments according to:
the numerical hierarchy of each theme, such as theme one, theme two, etc.
the melodic number assigned to a given melodic part of a given theme, as xe2x80x9conexe2x80x9d in xe2x80x9cpart onexe2x80x9d;
represent the:
overall structure of a given composition;
internal structure of each of its major sections, i.e., exposition, development, recapitulation;
component melodic increments of each architectonic unit within a given major section;
thematic description of each melodic increment;
frequency and sequence of each melodic increment having the same thematic description;
presence of and description of special sections, e.g., closing, development, and coda.
Further, the present art lacks a means for inaudibly associating a description of a melodic increment with an audible performance of music appertaining to that description.
The present invention overcomes many of the shortcomings of the prior art by providing a visual display for graphically symbolizing melodic increments of composed music. The visual display includes a plurality of composite designators, each of which represent a melodic increment of the musical composition. Each composite designator comprises a first visual indicator which is selected from a first class of visual images. Each member of this first class of visual images corresponds to a different theme of the musical composition. The composite designators further comprise a second visual indicator which is selected from a second class of images. Each member of the second class of images corresponds to an ordering. Each composite designator therefor represents a melodic increment having a specific theme and ordering. The present invention also provides a method for providing a graphical representation of a sequence of melodic increments in a musical composition which may be grouped into architectonic rows, as well as a notating system.